UNIVERSITY  OF  CALIFORNIA 
AT    LOS  ANGELES 


DRAMATIC   GAMES    AND   DANCES 
FOR   LITTLE   CHILDREN 


BY 

CAROLINE   CRAWFORD 

Author  of  "  Folk  Dances  and  Games  "  and 
"Rhythms  of  Childhood  " 


THE    MUSIC 
BY 

Elizabeth   Rose   Fogg 


ILLUSTRATIONS 
BY 

Katherine   Kellogg 


»•    .'• 


New  Vukk 
16  4  1       1  0  A.  S.   HARNI-S  AM)  COMPANY 


I92_' 


9941H 


Copyright,  1914, 

BY 

THE  A.  «.  IIAIIMES  COMPANY 


■•-Jorary 


303! 


THE  EVOLUTION  OF  THE  DRAMATIC  GAME  AS  AN  ART  FORM 

In  the  introduction  of  games  as  educational  material,  there  has  been,  until  quite 
recently,  no  serious  study  of  the  different  kinds  of  games  so  far  as  meaning,  form  of  ex- 
pression, and  use  are  concerned.  In  all  the  grades  above  the  kindergarten,  most  of  the 
games  have  been  introduced  through  the  gymnasium,  as  new  modes  of  exercise.  For- 
tunately, the  go-called  dramatic  game  does  not  offer  either  the  kind  or  amount  of  activity 
to  make  it  generally  attractive  to  the  teachers  who  must  give  "so  much  exercise  in  fifteen 
minutes."  The  result  has  been  that  the  games  of  skill  have  gone  into  the  gymnasium 
as  appropriate  material,  while  the  dramatic  games  have  been  discarded.  Almost  the 
only  exception  to  this  has  been  in  the  case  of  the  folk-dances,  and  the  unfortunate  thing 
in  their  gymnastic  introduction,  is  the  tendency  to  take  the  more  common  and  vulgar 
forms,  because  the  standard  of  judgment  is  not  for  the  thought  expressed  but  for  the 
"motor  activity." 

As  long  as  the  dance  was  a  decadent  art,  it  could  not  be  expected  that  it  would  at 
first  be  given  serious  attention  as  an  art-form.  Ilducation  is,  however,  beginning  to  follow 
the  trend  of  the  creative  thought  of  the  present,  and  the  interest  in  the  three  united  arts, — 
the  dance,  music,  and  literature  ^\  ill  cause  them  to  develop,  educationally,  through  their 
proper  channels  and  in  their  related  forms. 

The  earlier  classifications  of  the  dramatic  games  have  been: — the  form  or  manner 
of  playing,  the  subject  of  the  game,  and  the  kinds  of  exercise  for  the  bodj'.  Just  to  imagine 
studying  dramatic  literature  under  such  an  a.ssortment  of  topics  reveals  the  situation  in 
which  we  find  ourselves,  educationally,  in  attempting  to  reinstate  these  earlier  arts. 
Under  the  third  heading — exercise  of  the  body,  the  prize  would  surely  go  to  "comic"  opera 
because  there  is  so  much  "motor  activity"  in  that  form.  In  attemi)ting  to  present  this 
small  collection  of  dramatic  games  and  dances  built  on  another  classification  and  for 
another  purpose,  there  are  several  important  points  to  be  noted  before  the  art-forms  of 
the  little  child  will  have  much  significance  for  us. 

So  long  as  we  judged  the  child's  art-product  by  adult  standards,  we  were  iqcliiied  to 
say  that  the  little  child  was  "artless."  Not  until  we  hunted  out  the  beginnings  of  highly 
evolved  activities  did  we  realize  that  the  child  is  an  artist  at  an  early  jXTiod  of  life.  His 
constructive  tendencies  lead  him  to  build  in  forms  which  differ  from  the  most  nimplex 
arts,  in  degree  only.  AMien  we  study  what  actions  he  jiuts  together  to  build  his  plots; 
how  this  plot  is  "whole  and  comi)lcte"  out  of  his  experience;  how  yesterday's  j^lot  may  not 
satisfy  him  toda}',  because  a  new  fact  must  be  added  to  the  older  group,  even  though  all 
the  relations  have  to  be  changed  to  do  it,  we  find  that  he  is  not  far  away  from  what  we  call 
a  technical  study  of  i)lot  making. 

But  the  signs  and  symbols  which  represent  these  actions  that  he  relates  in  the  plot 

V. 


VI. 

an-  soiiu'vvhat  diffcri-iit  from  our  dcvclopnl  forms.  A  little  child's  language  for  artistic 
const nu-t ion  is  a  conipo-site.  It  is  made  up  of  actions,  tones,  words.  Sometimes  the 
three  foi-ms  are  ver>'  clear  and  definite,  but  usually  they  are  fragments  put  together  as 
Ix'st  they  serve  the  puri>o.se.  The  imi)ortant  thing  is  that  children  begin  relating,  organ- 
izing, composing  their  experiences  into  wholes  long  before  the  complex  symbols  we  adults 
u.M'.  are  mastered.  The  first  plots  are  told  with  the  actions  that  accom]>anied  the  experi- 
ence; .soon,  however,  the  child  u.ses  only  the  emphatic  or  vivid  parts  of  such  acts;  and  he 
accompanies  this  gesture  or  pantomimic  action  with  all  the  tones  and  words  he  can  get; 
and  uses  objects  such  as  tally-sticks  to  help  him  keei»  the  incidents  in  mind. 

Hut  how  tloes  he  relate  these  experiences  into  wholes?  Is  he,  as  sonic  writers  on 
play  contend,  (|uite  free  in  his  work!  of  relationships,  or  does  he  experiment  to  find  ways — 
laws  that  are  those  of  all  art-form? 

When  we  study  the  princiiiles  of  artistic  comjiosition,  we  find  that  children  are 
constantly  experimenting  in  the  search  for  and  the  arrangement  of  jnincipal  and  suliordi- 
nate  parts.  A  child  who  is  working  intensely  on  some  plot,  will  force  his  arrangement  on 
even  unwilling  subjects,  so  great  is  his  desire  to  play  the  story.  If  one  questions  whether 
children  really  recognize  the  principal  i)art  it  is  only  necessary  to  watch  the  members  of  a 
grouj)  struggle  for  the  essential  character.  Later  on,  after  repeated  trials,  that  same 
groui)  will  choose  the  best  child  for  the  story  without  hesitation.  These  are  factors  of 
artistic  structure  and  judgment  as  definite  as  those  of  a  more  developed  period  of  literary 
construction. 

Even  as  the  arrangement  of  the  forces  is  found  to  follow  the  principles  of  construc- 
tion, so  also  in  the  movement  of  the  forces  in  a  plot,  we  find  that  children  build  toward 
very  definite  climaxes,  that  they  u.se  the  factors  of  repetition  and  contrast  to  fit  the  feeling 
they  have  of  the  way  things  ought  to  go.  Sometimes  we  undoubtedly  judge  the  repetition 
of  a  child's  play  as  jierfunctory,  when  out  of  his  experience,  it  is  truly  cumulative  in  char- 
acter. It  is  true  that  sometimes  the  situation  is  too  much  for  him,  and  he  loses  the  thread 
of  the  storj',  but  even  grown-ups  do  that  and  become  monotonous  repeaters.  In  his  use 
of  contrasting  elements,  he  plays  his  opposites  with  the  keenest  delight,  and  many  times 
with  a  vivid  con.sciou.sness  of  humor. 

The  arrangement  of  parts,  and  the  movement  toward  climax  in  the  plot  arc  more 
or  Ies.s  cmde,  more  or  less  definite  in  form  but  are  ever  evolving  toward  more  definite  and 
more  complex  types.  The  use  of  so  much  of  this  experience  and  so  much  of  that,  this 
degree  of  intensity  of  expres.sion  and  that  amount  of  time  given  to  it,  make  up  the  rhythms 
of  comjiosition.  Sometimes  the  child's  compositions  are  worthy  artistic  productions, 
sometimes  they  have  no  value  artisticallj',  but  are,  of  course,  invaluable  psychologically. 

Many  of  the  games  given  in  this  collection  are  taken  directly  from  children's  plots 
and  stories.  Some  have  been  brought  into  more  definite  form,  and  some  remain,  with- 
out the  music,  in  the  fonn  that  the  child-artist  left  them.  'Mack  and  Jill"  are  just  our- 
selves, for  we  have  all  fallen  down  on  our  way  to  school.  "Hey!  Diddle!  Diddle!" 
is  a  child's  bacchanal — everybody  is  wild  for  a  moment,  and  "The  Old  Woman  Wlio 


VII. 

Lived  in  a  Shoe"  represents  an  incident  that  sometimes  happens  both  at  home  and  at 
school.  We  find  the  plots  becoming  more  complex  in  form  and  in  characterization  in 
"The  Little  So^tti^"  "This  is  the  Way  My  Dolly  Walks,"  and  "The  Little  Leaves." 
The  two  oLd^ames  "Nuts  in  j\Iay,"  and  "Three  Little  Ships"  are  given  to  illustrate  the 
development  of  the  principle  of  contrast  as  it  divides  the  circle  into  lines  placed  over 
against  each  other  in  the  one  and  the  antiphonal  chorus  with  question  and  answer  in  the 
other. 

"Follow  ]\Iy  Leader"  is  one  of  the  simplest  forms  of  constructing  by  cumulative 
repetition.  "Plajing  Horses"  is  another  simple  form,  but  it  has  a  more  definite  idea 
as  the  principal  part  for  representation.  Such  games  are  soon  exhausted  by  the  plot- 
maker  and  then  more  difficult  things  to  do  are  devised  as  in  "Away  We  All  Go,"  and 
"The  Thread."  Such  games  often  lose  the  elements  of  representation  Tind  become 
games  of  skill. 

In  "The  Little  Ducks,"  "Lm  Very,  Very  Tall,"  "Hide  and  Seek,"  "Look  Out!" 
"The  Horses  are  Coming,"  the  element  of  contrast  is  the  chief  means  of  relating  experi- 
ences. Children  begin  putting  together  experiences  which  relate  up  and  down,  here  and 
away,  coming  and  going,  etc.,  very  early.  "Peek-a-boo"  is  a  child's  way  of  saying — "now 
Lm  here,  and  now  Dm  away." 

The  games  that  are  given  to  illustrate  the  plots  of  "^Mother  Goose"  are  not  to  be 
taken  too  literally.  If  jMother  Goo.'-c  is  interesting  to  children  it  is  because  the  char- 
acters are  all  types  that  represent  their  own  possible  experiences. 

The  plays  and  dances  that  are  related  to  literature  in  use  in  the  schools  are  sugges- 
tions of  the  kinds  of  dance  and  plaj'  that  have  artistic  value.  Some  of  the  dances  suggest 
mood  only;  like  the  "Firefly  Dance"  and  "Leaves  at  Pla3^"  Others  give  the  epic  as  well 
as  the  lyric  elements  of  the  story.  "  The  Lobster  Quadrille"  is  such  a  burlesque  as  children 
often  construct  if  they  have  the  chance. 

The  following  is  the  full  list  of  the  plays  and  dances  directly  connected  with  the 
literature  used  in  the  majority  of  schools. 

Mother  Goose — Jack  and  Jill. 

The  Old  Woman. 
The  Pussy  Cat. 
Little  Miss  Muffett. 
Hey!  Diddle!  Diddle! 

Hiawatha— Firefly  Dance. 
Lullaby. 

Uncle  Remus — The  Little  Rabbits. 

Old  Folk  and  Fairy  Tales — The  Sleeping  Roauty. 

The  Shoemaker. 

The  Advent uics  of  a  Brownie — The  Hrownie  and  the  Cherry-tree. 

Alice  in  Wonderland — The  Lobster  Quadrille. 

Pinnochio — The  Marionettes  Dance. 


VIIL 

Poems — I  Have  a  Little  Shadow — Shadow  Dance. 
Leaves  at  Play — The  Dancing  Leaves. 

Acknowlcdpniont  i.s  due  Elizabeth  Ro.se  I'opp  for  her  charming  and  artistic  music. 
Such  work  mcaii.s  hours  given  in  the  laboratory  of  child-life. 

For  the  two  games,  "The  Gingerbread  Man"  and  "The  Thread"  I  am  mdebted  to 
teachers  in  my  own  classes 

It  is  hoped  that  this  little  oook  may  .je  suggestive  to  the  teacher  and  that  it  may 
helj)  to  give  the  child-arti.st  a  better  chance  in  modern  education. 

Caroline  Crawford. 
New  York,  ^L\v,  1914. 


CONTENTS. 

GRADE  PAGE 

Away  We  All  Go  Kindergarten,  First,  Second  4 

Brownie  and  the  Cherry  Tree,  The  Second,  Third  75 

Dance  of  the  Marionettes,  A  Second,  Third  58 

Firefly  Dance First,  Second  50 

Follow  My  Leader   Kindergarten  2 

Gingerbread  Man,  The    Kindergarten,  First,  Second  42 

Hide  and  Seek    Kindergarten  20 

Horses  Are  Coming,  The     Kindergarten  12 

Hey!  Diddle!  Diddle Kindergarten  30 

I'm  Very,  Very  Tall     Kindergarten  18 

Jack  and  Jill Kindergarten  26 

Lambkins  Gambol  on  the  Green  Grass,  The     Second,  Third  56 

Leaves  Are  Green,  The Kindergarten  44 

Leaves  at  Play  Second,  Third  48 

Little  Birds,  The Kindergarten  16 

-— tiTTLE  Ducks,  The     Kindergarten  14 

_^_Little  Leaves,  The   Kindergarten,  First  46 

Little  Miss  Muffett    Kindergarten  32 

'^  Little  Rabbits,  The      Second,  Third  61 

Little  Soldier,  The Kindergarten,  First  8 

Lobster  Quadrille,  The Second,  Third  65 

Look  Out!     Kindergarten,  First  22 

•    Lullaby,  From  "Hiawatha" Kindergarten,  First  52 

^Kuts  In  May   First,  Second  36 

Old  Woman  Who  Lived  in  a  Shoe,  The Kindergarten,  First  34 

~""^laying  Horse    Kindergarten  11 

Playing  Soldier     KindiTfrarten  10 

Pussy  Cat  and  the  Little  Mouse,  The  Kindergarten  28 

Shadow  Dance,  A  .  .                    First,  Second  54 

Shoemaker  and  the  Elves,  The    First,  Second  69 

Sleeping  Bkautv,  The Kindergarten,  First  40 

This  is  the  Way  Mv  Dolly  Walks  Kindergarten,  First  24 

Thread  Follows  the  Needle,  The  Kindergarten,  First  6 

f    Three  Little  Ships   First,  Second,  Third  38 


IX 


DRAMATIC  GAMES 
AND  DANCES 


HIS  is  one  of  the  simplest  forms  of  playing  the  game.  During  the 
first  four  measures,  the  children  walk,  gradually  accelerating  in  speed 
up  to  the  fifth  measure,  when  they  run.  At  the  ninth  measure,  they 
turn  around  and  face  in  the  opposite  direction  and  the  game  begins 
anew,  jiroforably  with  another  leader. 

"Follow  ]\Iy  Leader"  requires  a  frequent  change  of  leader  to  be 
an  interesting  game.  Each  succeeding  leader  should  add  something 
new  to  the  game  until  a  climax  is  reached.  But  when  it  is  reached  the  play  should  stop 
at  once.  We  often  see  this  game  "peter  out"  because  the  teacher  fails  to  realize  that 
when  repetition  loses  its  cumulative  character  the  interest  flags  and  the  game  is  overdone 
— an  anti-climax  has  developed. 


FOLLOW    MY    LEADER. 


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AWAY  WE  ALL  GO. 

We  '11  follow  our  leader  and  away  we  all  go, 
Away  we  all  go,  away  we  all  go. 
We  '11  follow  our  leader  and  away  we  all  go, 
Far  away,  far  away  we'll  go! 

The  children  are  in  a  circle  with  half  of  them  facing  outward  and  the  other  half 
facing  toward  the  center.  Both  lines  take  one  step  backward  which  places  them  all  in 
the  position  illu.stratcd.     They  join  hands  across  as  indicated  by  the  dotted  lines  and  the 

o^    cO 


leader  at  the  head  of  the  line  passes  under  the  arch  made  by  the  joined  hands  with  the 
plaj-ers  all  following  her.  This  will  take  the  circle  once  around  in  passing  under  the  arch. 
They  may  now  turn  and  follow  the  leader  under  again,  going  in  the  opposite  direction, 
or  they  may  dance  around  the  circle  to  fmi.sh  the  game. 

The  game  is  a  form  of  follow  my  leader  with  a  more  complex  situation.  The  vivid 
dramatic  expression  comes  when  the  arch  is  successfully  passed  and  the  children  dance 
the  joy  of  the  doing.  This  is  the  chorus,  while  the  first  part  is  the  episode.  If  the  children 
say,  "Let's  do  it  again,"  it  will  grow  with  repetition.  If  the  teacher  knows  how  to 
develop  intensity  and  speed  in  a  plot  built  by  cumulative  repetition,  the  game  will  develop 
itself. 


* 


Marcia. 


AWAY    WE    ALL    GO. 

Harmonized  by  Elizabeth  Rose  Fogg. 


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THE  THREAD  FOLLOWS  THE  NEEDLE. 


The  thread  follows  the  needle, 

The  thread  follows  the  needle. 

In  and  out  the  needle  goes, 

As  mother  nionds  the  children's  clothes. 

The  children  form  in  lines  as  in  the  diagram: — 


1 

1 

1 

2 

2 

2 

3 

3 

3 

4 

4 

4 

5 

_, 

5 

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5 

— » 

All  face  in 

6 

6 

6 

this  direction 

7 

7 

7 

8 

8 

8 

9 

9 

9 

10 

10 

10 

They  join  hands  and  numlier  one  stands  in  place.     The  lines  then  start  with  number 
ten  leading  and  pa.ss  around  luider  the  arms  of  numbers  one  and  two  as  in  (a) 

(a)  (b)  (c) 

1  I  I 

T\  2  2 

3 


Numbers  one  and  two  then  face  in  the  opposite  direction  as  the  Une  passes  under, 
and  as  they  keep  hands  joined,  they  stand  with  the  arms  crossed  across  the  chest  forming 
a  chain  stitch  with  their  crossed  arms.  The  line  continues  around  and  the  next  time  passes 
between  numbers  two  and  three  (b).  This  continues  until  all  the  players  in  all  the  lines 
are  turned  in  the  opposite  direction  with  arms  all  crossed  in  front  and  all  sewed  together. 
At  a  signal  or  a  chord  on  the  piano,  the  children  turn  under  arms  unravelling  the  chain, 
and  the  game  may  repeat. 

Dramatically,  this  game  is  a  development  of  the  "Follow  My  Leader"  type.  If 
repeated  several  times  it  will  accelerate  in  speed  and  emphasis. 


THE  THREAD   FOLLOWS   THE    NEEDLE. 

Elizabeth  Rose  Fogg. 


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8 


TIE  children  form  for  the  plaj''  during  the  first  two  measures  of  music. 
They  march  around  the  room  for  seven  measures,  then  right  about  face 
(eighth  measure)  and  march  in  the  opposite  direction.  When  the  retreat 
begins  at  the  ninth  measure,  they  break  ranks  and  go  to  the  i)laces  from 
which  they  started. 

"The  Little  Soldier"  is  a  development  of  the  idea  in  the  game  "Playing 
Soldier."  In  that  the  things  which  the  child  himself  sees  as  important 
are  related  in  the  plot.  But  in  this  plot  certain  things  that  a  soldier  is 
alwaj's  ready  to  do  are  the  essential  parts  related.  If  the  bugle  calls,  he 
must  be  ready  to  go  to  march,  and  he  must  get  there  on  time.     He  goes 

out  on  his  duty  and  he  comes  back  again.     At  the  retreat  he  breaks  ranks  and  goes  away. 

Children  are  interested  in  playing  this  after  they  have  been  told  some  of  the  important 

events  in  a  soldier 's  life. 


9 


THE  LITTLE  SOLDIER. 


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(dpyri'-lit,  irni.  by  '!'iiK  .\.  S.  !;.vknks  CoMrANV. 


10 


PLAYING  SOLDIER. 

Till'  children  are  in  a  circle.  They  all  march  very  stiffly  and  i)roudly  for  six  measures. 
They  then  turn  toward  the  center  and  salute  gravely  and  slowly.  The  music  repeats  as 
they  turn  and  march  again.     The  game  may  be  repeated  several  times  to  its  climax. 

Two  things  .seem  most  prominent  in  the  child's  idea,  of  soldier.  The  marching  to  a 
drum  and  the  emphatic  salute.  The.se  two  things  seem  to  form  a  starting  point  for  the 
soldier  idea  in  the  mind  of  a  little  child. 


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PLAYING  HORSE. 


11 


The  children  are  in  a  circle.  They  start  off  galloping  and  go  faster  and  faster  during 
eleven  measures,  then  they  rein  in  with  great  prancing  on  the  twelfth  measure. 

The  game  is  a  fine  example,  in  its  elemental  form,  of  cumulative  repetition  to  a  chma.x. 
It  can  be  played  in  several  ways.  The  horses  go  somewhere  and  arrive  in  great  style. 
Fire  horses  go  like  this- -perhaps  that's  one  reason  why  children  so  love  to  follow  them 
until  they  stop  short  from  high  speed.  Several  children  can  play  horse  and  take  jx'ople 
out  to  ride.     Several  really  good  forms  ought  to  develop  from  this  very  simple  one. 


Galop. 


Harmonized  by  Elizabeth  Rose  Foog. 


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12 


THE  HORSES  ARE  COMING. 


If  the  game  is  played  in  a  circle,  no  description  is  necessary  with  the  very  well-marked 
music.  But  it  is  much  more  interesting  after  the  children  have  played  such  games  as  this, 
to  divide  the  class  into  groups,  and  let  them  go  in  these  several  ways.  The  first  group 
goes  trotting  by,  the  next  ambling,  the  third  group  canters,  and  the  fourth  gallops  along, 
and  then  off  out  of  sight.  The  music  can  roiieat  from  the  fourteenth  measure  and  all  the 
groups  go  galloping  past  and  away. 


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14 


HI']  children  may  play  in  a  circle  or  they  may  follow  a  leader  who  goes 

where  she  wishes.     They  all  walk  during  the  first  three  and  one-half 

measures,  using  their  arms  down  by  their  sides  as  a  duck  uses  its  legs. 

At  the  last  two  notes  of  the  fourth  measure,  they  stop,  duck  their 

heads  down  in  front,  and  swing  their  arms  up  behind  them  as  a  duck 

swings  its  legs.     The  music  repeats  and  they  start  again. 

The  teacher  must  watch  to  see  that  children  never  repeat  such  games  beyond  the 

climax  in  feeling.     It  is  easy  to  see  in  the  faces  of  little  children  how  long  repetition  is 

really  cumulative.     The  artist  never  repeats  mechanically. 


15 


THE    LITTLE    DUCKS. 


Marc  ill 


Elizauktu  Rose  Fogg. 


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16 


THE  LITTLE  BIRDS. 


The  children  form  in  a  circle  with  four  or  five  in  the  center  ready  to  fly  away.  During 
the  first  two  measures  they  run  lightly  out  of  the  circle,  and  during  the  third  and  fourth, 
they  wheel  about  as  they  lly.  The  movement  of  two  running  and  two  wheeling  measures 
continues  until  the  tenth  measure  when  the  running  movement  accelerates  to  the  twelfth 
mea.>jure.     Then  they  all  stop  and  turning  about,  hop  back  into  the  circle  again. 

The  game  repeats  with  now  jilayors  in  the  center. 

In  this  game  the  greatest  freedom  of  action  ought  to  be  allowed. 


EuzABETH  Rose  Fogg. 


Presto.      VeriiUnhtJij  all  t/irour/h. 


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18 


I  M'VERY*  VEKY'  lALL 


'M  VERY,  very  tall, 
Or  I  'm  very,  very  small, 
Sometimes  tall,  sometimes  small, 
Guess  which  I  am  now! 


The  children  are  in  a  circle  with  one  child  in  the  center  who  covers  her  eyes.  Some 
one  in  the  circle  is  chosen  to  tell  them  which  they  are  to  be — tall  or  small — at  the  end  of 
the  game.  As  they  sing,  "I'm  very,  very  tall,"  they  all  stretch  up  as  high  as  ever  they 
can.  "VNTien  singing,  "I'm  very,  very  small,"  they  make  themselves  as  tiny  as  possible. 
They  stretch  up  again  as  they  sing  slowly — "sometimes  tall"  •  and  down  with — "  sometimes 
small."  After  a  verj^  short  pause  while  the  one  named  at  the  beginning  of  the  game  gives 
the  signal  for  them  all  to  be  either  tall  or  small,  they  sing  quickly,  "Guess  which  I  am 


now 


t" 


For  very  little  children  it  is  better  to  change  those  having  the  principal  parts  each 
time  the  game  is  played. 


19 


* 


I'M  VERY,  VERY  TALL. 


EuzABETH  Rose  Fogg. 


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9 


Copyright,  1914,  by  Tiik  A.  S.  Uaunes  Company 


20 


HIDE  AND  SEEK. 

Hide  and  seek!     Hide  and  seek! 
Oh,  you  dare  not,  dare  not  peek. 
Look  and  see  when  you  are  bid 
AMio  it  is  that  wo  have  hid! 

The  children  form  in  a  double  circle,  with  one  of  their  number  in  the  center  who 
covers  her  eyes.  While  they  are  walking  around  and  singing,  another  child  chooses  some 
couple  to  hide  behind.  As  they  finish  singing,  all  face  center  and  the  child  on  the  outside 
hides  behind  some  two  who  cover  her  with  their  skirts.  The  one  in  the  center  must 
guess  where  the  missing  child  is,  and  then  who  she  is.  At  the  first  of  the  school  year,  it 
usuallj'  causes  enough  suspense  in  the  game  to  find  the  child.  Later,  the  fun  is  to  guess 
who  is  hidden. 


21 


HIDE   AND   SEEK. 


Moderatn. 


Elizabeth  Rose  Fogg. 


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22 


LOOK  OUT! 

The  children  are  in  a  circle  with  one  in  the  center  who  covers  her  eyes.  During  the 
first  three  measures  thej''  all  walk  slowly  and  cautiously  toward  her,  watching  to  see  what 
she  is  going  to  do.  Suddenly  she  takes  her  hands  away  from  her  face  and  they  run  away 
as  fast  as  they  can.  (Measures  four  and  five).  But  they  look  back  and  the  child  in  the 
center  is  just  laughing  because  she  frightened  them.  Thej^  turn  and  go  toward  her  again 
(measures  six,  seven,  eight).  This  time  they  are  much  bolder  and  the}'  go  faster.  On  the 
last  note  of  the  eighth  measure,  the  center  child  starts  toward  them.  They  run  again 
(measure  nine).  But  she  laughs  at  them  once  more  and  they  all  turn  (measure  ten)  and 
go  boldly  toward  her  laughing.  In  the  center,  they  jump  up  and  down  as  they  clap 
their  hands  with  glee. 


I  Moderalo. 


^-- 


LOOK   OUT! 


23 


Elizabeth  Rose  Fogg 


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24 


Ills  is  the  way  my  dolly  walks, 
This  is  the  way  she  walks,  you  see. 

This  is  the  way  my  dolly  runs, 
This  is  the  way  she  runs,  you  see. 

This  is  the  way  my  dolly  hops, 
This  is  the  way  she  hops,  you  see. 


This  is  the  way  my  dolly  talks. 
This  is  the  way  she  talks,  you  see. 

The  children  are  in  a  circle.  They  make  themselves  very  stiff  in  the  joints  and  move 
like  dolls  as  they  go  around  singing  the  first  stanza.  During  the  second  stanza  they 
run,  and  during  the  third,  they  hop.  At  the  fourth  stanza,  they  push  the  spring  in 
their  chests  with  great  vigor,  and  many  times  the  words  sung  are  the  ones  their  own  dolls 
speak,  instead  of  the  ones  written  above.  It  is  needless  to  say  that  the  laughing  climax 
comes  spontaneously  at  the  end  of  the  game. 


THIS   IS  THE   WAY   MY   DOLLY   WALKS. 


Moderato. 

Staccato. 

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25 


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II 


Copyright,  lUU,  by  Tuk  A.  S.  IIaunes  Compajjv. 


2a 


JACK  AND  JILL. 

The  children  start  off  in  a  double  circle  skipping  joyously.  They  begin  quite  mod- 
erately but  increase  in  speed  until,  at  the  beginning  of  the  tenth  measure,  they  are  skipping 
pretty  fast  and  with  a  very  high  step.  On  the  fourteenth  measure,  they  all  fall  down. 
And  the  "boo  hoo"  follows  in  the  si.xteenth,  etc.,  measures. 

"Jack  and  Gill"  is  typical  of  an  experience  common  to  us  all.  We  remember  start- 
ing off  to  .school  on  a  fine  morning  with  very  clean  clothes,  with  lunch  basket  filled,  and 
with  such  hajjpy  hearts  that  we  couldn  't  help  skipping  along.  But  we  stubbed  our  toe — 
it  was  all  over. 


AUeijro. 


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Eliz.\i5eth  Rose  Fogg. 


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Copyright,  1914,  by  The  A.  S.  Babnes  Company. 


27 


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28 


THE  PUSSY  CAT  AND  THE  LITTLE  MOUSE. 

The  {•liildrcn  arc  in  a  circle.  One  is  chosen  for  the  cat  and  another  one,  on  the  opposite 
side  of  the  circle,  for  the  mouse.  The  cat  during  the  first  four  measures,  comes  creeping 
softly  and  slyly  around  to  the  mouse.  At  the  last  note  in  the  fourth  measure,  the  mouse 
sees  the  cat  coming  and  runs  away  around  the  circle.  The  cat  chases  it,  and  at  the 
eleventh  measure,  the  mouse  reaches  its  place  and  gets  home  again,  safe  at  last. 

In  characterization  wo  need  to  remember  tlio  very  important  cat  that  only  frightens 
a  little  mouse. 

The  length  of  the  music  is  planned  for  a  medium  sized  circle.  If  it  is  necessary  some 
measures  can  be  repeated  to  give  the  time  necessary  to  run  around  the  circle. 


THE    PUSSY   CAT   AND   THE    LITTLE    MOUSE. 


29 


Myaterioitaly. 

A^-^-m- 1- 


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30 


%iHEY!  DIDDLE!  DIDDLE!^# 


UKIXG  tlic  first  two  measures,  the  children  get  ready  in  the  circle  for  the 
play.  Sometimes  the}'  run,  sometimes  clap  their  hands  and  sometimes 
they  jump  up  and  clap  their  hands.  It  depends  on  how  excited  they  are 
at  the  beginning  of  the  dance.  At  the  third  measure,  they  begin  skipping 
around  the  room.  They  skip  higher  and  faster  with  increasing  speed 
and  greater  variation  of  step  until  the  tenth  measure.  Then  they  drop  to 
the  floor  with  a  sigh  of  relief.  ' 

This  game  can  never  be  played  in  cold  blood.  It  is  an  expression  of  certain  moods 
that  we  all  know  in  children.  When  they  are  so  excited  that  they  cannot  stand  still,  or 
when  everybody  is  beginning  to  go  wild,  are  familiar  enough  instances  of  the  times  when 
such  moods  are  seeking  expression. 

The  teacher  can,  if  she  is  alive  to  such  situations,  insert  such  controlled  expression 
as  comes  to  a  climax  in  place  of  the  wild  time  that  often  ends  in  tears. 


31 


Lento. 


HEY!   DIDDLE  I    DIDDLE! 

Elizabeth  Rose  Fogg. 
Pretto.     LvjJitli/. 


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CopyrlRht,  I'.iM,  by  Tiik  A.  S.  Barnes  Compahv. 


32 


LITTLE  MISS  MUFFET. 

During  the  first  four  measures  all  the  players  sit  in  a  circle  or  a  group,  rocking  them- 
selves and  eating  very  complacently.  At  the  beginning  of  the  fifth  measure,  they  jump 
up  and  run  away  in  great  excitement. 

Two  moods  are  related  in  this  game, — the  first,  the  self-complacent  attitude  that  is' 
apt  to  appear,  even  in  adults,  when  everj-thing  is  going  smoothly,  and  the  second,  the  ex- 
citement of  the  unexpected  catastrophe  that  appears  when  one  is  so  very  comfortable. 


Dreamily. 


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LITTLE  MISS  MUFFET. 


Elizabeth  Rose  Fogg. 


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34 


The  fliil(lrt>n  are  in  a  circle  with  one  in  the  center  to  represent  the  old  woman.  During 
the  first  four  measures  they  run  excitedly  about  as  if  in  some  game  and  not  paying  any 
attention  to  the  one  in  tlie  center.  At  the  fifth  measure  the  center  player  pretends  to  beat 
tln-ni  all  .soundly.  They  gradually  become  quieter  until  the  ninth  measure  when  all  are 
still,  and  they  are  lying  down  peacefully  sleeping,  at  the  tenth  measure. 

To  represent  the  confusion  of  the  first  four  measures,  it  is  necessary  to  have  a  very 
definite  plan  of  action.  Some  of  the  players  must  go  in  a  certain  path  following  a  leader 
and  others  in  another.  Until  the  teacher  realizes  that  the  more  confused  and  complex 
the  action,  the  greater  the  need  of  definite  organization,  it  is  better  not  to  attempt  this  type 
of  dramatization.  On  the  other  hand,  it  is  one  of  the  most  vivid  ways  of  training  the 
expression  of  changed  moods. 


THERE   WAS    AN    OLD    WOMAN. 

KUZABETH    KOSE    FoGG. 

„  1  Allegro.  Excited.  2 


35 


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NUTS  IN  MAY. 

1.  Ili-re  we  conic  gathering  nuts  in  May, 
Nuts  in  May,  nuts  in  May. 

Here  we  come  gathering  nuts  in  May 
So  early  in  the  morning. 

2.  Whom  will  you  have  for  nuts  in  May, 
Nuts  in  May,  nuts  in  May? 

Whom  will  you  have  for  nuts  in  May, 
So  early  in  the  morning? 

3.  We  will  have  (Mary)  for  nuts  in  May, 
Nuts  in  May,  nuts  in  May. 

We  will  have  (Mary)  for  nuts  in  May 
So  early  in  the  morning. 

4.  Whom  will  you  have  to  pull  her  away. 
Pull  her  away,  pull  her  away, 
Whom  will  you  have  to  pull  her  away. 
So  early  in  the  morning? 

6.  W'e  will  have  (Jane)  to  pull  her  away 
Pull  her  away,  pull  her  away. 
We  will  have  (Jane)  to  pull  her  away 
So  early  in  the  morning. 

The  children  form  in  two  lines  about  six  or  seven  feet  apart.     The  first  line  walks 
toward  the  second  during  the  first  four  measures,  singing: 

"Here  we  come  gathering  nuts  in  May 
Nuts  in  May,  nuts  in  May." 

They  walk  backward  to  their  starting  place  during  the  next  four  measures  singing: 
"Here  we  come  gathering  nuts  in  May, 
So  early  in  the  morning." 

The  second  line  then  walks  toward  the  first  line  on  the  first  four  measures,  singing: 
"Whom  will  you  have  for  nuts  in  May, 
Nuts  in  May,  nuts  in  May?" 

They  walk  backward  on  the  next  four  measures  as  they  sing: 
"Whom  will  you  have  for  nuts  in  jVIay 
So  early  in  the  morning?" 

The  first  line  continues  with  the  third,  and  then  the  fifth  stanza  and  the  second  with 
the  fourth. 


37 


At  the  end  of  the  fifth  stanza,  the  two  players  (Mary  and  Jane)  chosen  come  out 
between  the  Unes.  They  join  right  hands  and  place  one  foot  against  a  chalk  mark  on 
the  floor  to  see  which  can  pull  the  other  across  the  line.  (The  teacher  needs  to  control 
this  by  signal;  i.e.,  counting  one,  two,  three).  The  one  who  succeeds  takes  the  other  child 
to  join  her  line  as  an  added  player. 

The  game  now  repeats  with  the  second  line  beginning,    and   singing  stanzas  one, 

three  and  five.   This,  of  course,  gives  the  second  line  the  choice  at  the  end  of  the  game. 

The  game  continues  in  this  alternating  manner  until  one  side  has  added  a  certain  number 

of  extra  players.     Dramatically,  the  game  is  over  as  soon  as  one  side  is  thought  to  be 

stronger  than  the  other. 

Old  English. 
NUTS   IN    MAY. 


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THREE  LITTLE  SHIPS. 

1.  Three  little  ships  came  sailing  by, 
Sailing  by,  sailing  by. 

Three  little  ships  came  sailing  by, 
On  Christmas  Day  in  the  morning. 

2.  And  what  was  in  those  ships  all  three 
Ships  all  three,  ships  all  three? 

And  what  was  in  those  ships  all  three, 
On  Chri.stmas  Day  in  the  morning? 

3.  Our  Savior  Christ  and  his  Ladye, 
His  Ladye,  His  Ladye, 

Our  Savior  Christ  and  his  Ladye, 
On  Christmas  Day  in  the  morning. 

4.  And  whither  .sailed  those  ships  aw'ay, 
Ships  away,  ships  away? 

And  whither  sailed  those  ships  away. 
On  Christmas  Day  in  the  morning? 

5.  Oh,  they  sailed  into  Bethlehem, 
Bethlehem,  Bethlehem. 

Oh,  they  sailed  into  Betlilchem 
On  Christmas  Day  in  the  morning. 

6.  And  all  the  bells  on  earth  shall  ring. 
Earth  shall  ring,  earth  shall  ring. 
And  all  the  bolls  on  earth  shall  ring, 
On  Clu-istmas  Day  in  the  morning. 

Old  English. 

The  players  form  in  two  lines  a  few  feet  apart.     The  first  line  walks  forward  toward        j 
the  second,  singing:  1 

"  Three  little  ships  came  sailing  bj', 
Sailing  by,  sailing  by,"  ' 

The  line  then  walks  backward  to  place  singing: 

"Three  little  ships  came  .sailing  by. 
On  Christmas  Day  in  the  morning." 


39 


The  second  line  now  walks  forward  toward  the  first  sin}jjing: 
"And  what  was  in  those  ships  all  three, 
Ships  all  three,  ships  all  three?" 

This  line  walks  backward  to  place  singing: 

"And  what  was  in  those  ships  all  three, 
On  Christmas  Day  in  the  morning?" 

The  first  line  continues  with  the  third  stanza  and  also  the  fifth  in  the  same  manner, 
while  the  second  line  carries  the  fourth  stanza.  At  the  sixth  stanza  the  children  all  join 
hands  as  they  skip  around  in  a  large  circle  and  sing  in  imisan. 


Marcato. 


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THREE   LITTLE   SHIPS. 

Hariiionizeil  by  Elizabeth  Rose  Fogg. 

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40 

THE  SLEEPING  BEAUTY. 

Characters: 
The  Princess 
The  Prince 
The  Fairy 
The  Courtiers 
The  People 

The  childrpii  arc  in  two  circles.  The  princess  stands  in  the  center;  the  courtiers  are 
in  a  small  circle  around  her  and  the  people  in  the  larger  circle  outside.  The  prince  and  the 
fair>'  are  outside  the  large  circle. 

1.  The  circles  move  around  in  opposite  directions. 

The  princess  is  so  beautiful,  beautiful,  beautiful, 
The  princess  is  so  beautiful,  so  beautiful. 

2.  The  children  stand  still  and  lift  the  forefinger  warningly  at  the  princess. 

Oh,  little  princess,  have  a  care,  have  a  care,  have  a  care. 
Oh,  little  princess,  have  a  care  of  a  wicked  fay! 

3.  The  fairy  breaks  through  the  circle  and  goes  to  the  prince. 

There  came  a  wicked  fairy  there,  fairj'  there,  fairy  there, 
There  came  a  wicked  fairy  there  and  said  to  her, 

4.  The  princess  falls  down  asleep  and  the  courtiers  follow  her.     The  fairy  sings: 

Princess!  sleep  for  a  hundred  years,  hundred  years,  hundred  years, 
Princess!  sleep  for  a  hundred  years  and  all  of  you. 

5.  The  children  in  the  outer  circle  now  join  hands  and  raise  them  high  to  form  a 
hedge. 

And  a  great  hedge  stood  up  giant  high,  giant  high,  giant  high, 
And  a  great  hedge  stood  up  giant  high,  to  guard  them  all. 

6.  The  prince  breaks  through  the  hedge  and  goes  to  the  princess. 

Then  came  a  prince  unto  this  place,  to  this  place,  to  this  place, 
Then  came  a  prince  unto  this  place,  and  said  to  her. 

7.  The  prince  sings: 

Oh  little  princess,  lovely  maid,  lovely  maid,  lovely  maid! 
Oh  little  princess,  lovely  maid,  awake  and  arise! 

8.  The  prince  lifts  up  the  princess,  the  courtiers  form  in  couples  and  those  in  the 
outer  circle  step  backward. 

The  little  princess  then  awoke,  then  awoke,  then  awoke. 
The  little  princess  then  awoke,  to  be  his  queen. 


41 

9.  The  prince  and  princess  walk  around  the  circle  followed  by  the  courtiers. 

Then  was  held  a  wedding  feast,  wedding  feast,  wedding  feast, 
Then  was  held  a  wedding  feast,  a  wedding  feast. 

10.  The  prince  and  princess  with  the  courtiers  dance  in  the  center  and  those  in  the 
large  cirde  skip  about  them. 

And  all  the  people  made  merry  then,  merry  then,  merry  then, 
And  all  the  people  made  merry  then,  through  all  that  land. 

Old  Germ.\n. 


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THE   SLEEPING   BEAUTY. 

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42 


THE  GINGERBREAD  MAN. 

1.  I've  run  away  from  a  little  old  woman, 
A  little  old  kettle,  and  a  little  old  man. 
I've  run  away  from  a  little  old  woman. 
And  a\5ay  from  you,  I  can,  I  can. 

2.  1  ve  run  away  from  the  men  that  thresh, 
And  I  've  run  away  from  the  men  that  mow. 
A  little  old  woman,  a  little  old  man. 

And  away  from  you,  I  can,  I  can. 


5  FOX 


Tlie  threshers  (o)  and  the  mowers  (x)  form  a  double  circle  with  the  little  old  woman 
(1),  the  gingerbread  man  (2),  the  little  old  man  (3),  and  the  fat  rolling  kettle  (4),  in  the 
center.  During  the  first  part  of  the  music  (8  measures)  all  the  characters  are  busily 
engaged  in  the  .several  occupations;  the  little  old  woman  is  kneeding  the  dough  and  the 
old  man  i.><  watching  her,  while  the  threshers  and  mowers  are  at  their  respective  tasks. 
.\t  the  fifth  mea.><ure  of  the  music,  the  gingerbread  man  leaps  up  and  runs  away  followed 
by  the  woman,  the  man  and  the  kettle.  As  he  passes  the  circle  of  threshers,  they  turn 
and  run  after  all  the  group,  and  as  he  passes  the  mowers  in  the  outer  circle,  they,  too,  do 
likewise.  As  the  gingerbread  man  runs  away  from  them  all  the  fox  comes  forward  and 
catches  him.  Then  the  first  music  is  repeated  slowly  while  they  all  go  back  to  their 
places  and  their  work  (8  measures).  During  the  second  part  of  the  game  the  children 
may  sing  or  not  as  .seems  best. 


THE   GINGERBREAD    MAN. 


43 


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44 


111;  leaves  are  gri'on,  the  leaves  are  brown, 
They  hail)?  so  high,  they  will  not  come  down. 
Leave  them  alone  till  the  frosty  weather 
And  then  they  will  all— come  down  together! 


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The  children  are  in  a  circle.  Thej'  reach  up  as  high  as  they  can  while  they  are  singing 
the  three  and  one-h;ilf  lines.  "WTien  thcj'  come  to  the  words  "come  down  together" 
tijey  all  fall  to  the  floor  verj'  fast — "they  just  drop,"  as  one  child  said. 

The  game  is  a  good  one  to  illustrate  the  prominent  thing  that  children  enjoy  in  the 
loaves — the  falling  to  the  earth.  And  in  their  own  dramatic  way  of  telling  stories  by  act- 
ing thi'  contrasting  elements,  they  just  do  it. 

Old  English. 


45 


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Allegretto. 


THE   LEAVES   ARE   GREEN. 

Harmonized  by  Elizabeth  Rose  Fogg. 


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THE  LITTLE  LEAVES. 

Round  and  round  and  away  we  go, 
Here  and  there  and  yonder! 
Round  and  round!  Oh,  see  the  snow! 
Round  and  round — and  under. 

The  children  are  in  a  circle.  During  the  first  three  and  one-half  measures,  they  run 
forward  lightly,  turning  around  twice  in  each  measure.  During  half  of  the  fourth  and  the 
fifth  measures,  they  leap  and  go  forward  with  three  high,  light  running  steps.  They 
stop  suddenly  on  the  sixth  measure,  holding  themselves  poised  as  if  to  dash  on  again. 
But  the  end  has  come,  and  during  the  seventh  and  eighth  measures  thej'  whirl  slowly  into 
the  center  of  the  circle  and  all  softlj'  sink  down  to  the  floor. 

The  words  are  given  to  suggest  the  necessity  for  definite  thought  in  the  actions. 
Children  should  not  attempt  to  sing  them  while  dancing,  but  they  might  say  them  softly 
to  themselves  until  the  thought  is  definitely  portrayed  through  the  action.  This  game 
follows  "The  Leaves  are  Green"  in  complexity  of  plot  and  development  of  the  suggestion 
of  the  leaves  that  come,  and  go,  before  the  winter  and  the  snow.  The  teacher,  as  in  others 
mentioned,  can,  however,  attempt  to  pull  too  much  out  of  it  or  teach  it  as  mere  gjTnnastics, 
barren  of  any  thought.     It  is  suggested  that  the  middle  course  be  tried. 


47 


THE   LITTLE   LEAVES. 


1  Allegretto. 


Elizabeth  Rose  Fogg. 
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48 


LEAVES  AT  PLAY. 


The  simplest  form  in  which  this  may  be  danced  is  in  a  large  circle  with  all  the  children 
moving  around  in  the  same  general  direction. 

During  the  first  measure,  they  run  forward  six,  fast,  httle  steps,  during  the  second 
they  turn  around  twice.  (The  whirl  is  made  by  lifting  the  body  high  on  the  toes  and 
running  around  with  the  arms  lifted  to  balance).  The  third  and  fourth  measures  are  the 
same  but  with  a  little  greater  speed  and  more  emphasis.  During  the  fifth  measure,  they 
run  forward  three  steps  and  leap  upward.  This  movement  repeats  during  the  sixth  and 
seventh  measures.  At  the  eighth  measure,  they  run  forward  three  steps  and  whirl  around 
once.  During  the  ninth,  tenth,  eleventh  and  twelfth  measures  they  continue  whirling 
twice  in  each  measure  and  moving  forward  with  each  turn,  as  the  speed  and  range  of 
movement  increase.  (The  best  dancers  will  vary  in  number  and  speed  of  whirls) .  On  the 
thirteenth  and  fourteenth  measures  the  turning  becomes  slower  and  less  regular,  and  on 
the  fifteenth  and  sixteenth  the  children  gradually  change  to  swaying  rather  than  turning 
about.  During  the  seventeenth  to  twenty-first  measures,  the  movement  of  the  first  four 
measures  is  repeated  but  with  less  emphasis  and  more  softly, — the  impulse  has  been 
partly  lost.  On  the  twentj'-first  measure  they  run  as  in  the  fifth  and  attempt  to  leap, 
then  during  the  last  three  measures  they  whirl  slowly,  sinking  lower  as  they  move  until  at 
the  end  they  have  all  fallen  quietly  to  the  floor — the  leaves  are  still. 

No  two  children  will  ever  be  exactly  alike  in  mood,  and  consequently  will  vary  in 
their  expression.  The  important  thing  is  that  they  show  in  face  and  body  that  they 
feel  the  lovely,  light,  floating  mood  of  the  dance.  The  danger  is  that  certain  "steps" 
will  be  taught  in  just  this  or  that  manner, — then  the  dance  will  become  "Dead  Leaves." 

After  the  dance  has  been  learned  in  circle  form,  it  will  be  interesting  to  let  the  children 
place  themselves  in  groups  and  so  get,  with  greater  freedom,  a  little  nearer  the  mood  that 
they  are  trying  to  capture  in  their  expression.  This  dance  has  been  so  well  executed 
that  the  suggestion  of  the  loveliness-that-passes  was  most  beautifully  realized. 


Allegretto. 
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49 


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50 


FIREFLY  DANCE. 

"Saw  the  fire-fly,  Wah-wah-taysee, 
Flitting  through  the  dusk  of  evening, 
"With  the  twinkle  of  its  candle 
Lighting  up  the  brakes  and  bushes, 
And  he  sang  the  song  of  children, 
Sang  the  song  Xokomis  taught  him: 
Wah-wah-taysee,  little  fire-flj'. 
Little,  flitting,  white-fire  insect. 
Little  dancing,  white-fire  creature, 
Light  me  with  your  httle  candle, 
Ere  upon  my  bed  I  lay  me. 
Ere  in  sleep  I  close  my  eyelids!" 

The  children  may  be  in  a  circle,  but  it  would  seem  better  to  try  such  a  dance  as  thig 
by  letting  a  little  group  move  freely  about,  then  let  other  children  try  it  in  small  groups, 
until  all  are  on  the  floor  and  plajing  in  groups  that  are  related  in  the  action  and  in  the 
movement.     Irrecjular  regularity  is  the  kej-note  of  such  concerted  movement. 

During  the  measures  one  and  two,  the  children  take  four  walking  steps.  These  are 
light,  high  on  toes,  and  fairj^-like.  During  the  third  measure  they  leap,  then  turn  from 
side  to  side,  looking  about  with  quick  little  darting  glances;  repeat  on  the  fourth  measure. 
On  measures  five  and  six  they  whirl  as  they  run  forward,  then  stop  suddenly  as  they 
look  around.  This  movement  repeats  on  the  sixth  and  seventh  measures.  During 
measures  eight  to  twelve,  they  all  run  two  very  short  steps  and  stop.  This  movement 
should  be  irregular,  however,  and  yet  light  in  character.  It  ought  also  to  cover  a  good 
deal  of  space  as  it  is  the  climax  of  the  dance.  During  measures  twelve  and  thirteen  they 
step,  then  pause,  step  again  and  pause,  and  during  fourteen  and  fifteen  whirl  in  a  little 
circle  and  then  pause.  Measures  sixteen  and  seventeen  repeat  twelve  and  thirteen.  All 
run  away  on  the  last  three  bars  of  the  music. 

This  description  is  only  a  suggestion  of  the  thing  we  are  after— the  darting,  fairy- 
like quahty  of  the  twinkling  ^re/y.  It  comes  and  goes  before  us  and  the  child  may  catch 
a  suggestion  that  probably  should  not  be  brought  to  any  more  definite  form  until  much 
later.  When,  however,  the  child  glimpses  the  significance  of  such  a  personification,  the 
crime  of  all  crimes  in  education,  is  that  we  teachers  are  blinder  than  those  we  attempt 
to  guide. 

And  what  is  this  suggestion,  and  what  does  it  lead  into?  If  anything  worth  while, 
some  day  it  ought  to  carry  us  over  in  thought  and  feeling  to  those  fireflies  of  the  imagina- 
tion, those  fairies  that  go, — 


51 


"Over  hill,  over  dale 
Tlirough  bush,  through  briar. 
Over  park,  over  pale, 
Through  flood,  through  fire, 
I  do  wander  everywhere 
Swifter  than  the  moon's  sphere; 
And  I  serve  the  fairy  queen. 
To  dew  her  orbs  upon  the  green." 


SlIAKKSPKAUE. 


To  force  such  a  suggestion  of  which  this  is  only  a  germ,  upon  tiie  little  child,  or  to 
teach  the  dance  in  the  formal  gymnastic  fashion,  would  reveal  the  teacher  blind  to 
the  thoughts,  feelings  and  actions  of  little  children. 

FIREFLY  DANCE. 


I  Allegro. 


ElIZARETII    Uf)SE    FOOG. 

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52 


LULLABY  FROM"   HIAWATHA." 

Ewa-yea!  my  little  owlet! 

Ewa-yea!  my  little  one! 

Who  is  this  that  lights  the  wigwam? 

"With  his  great  eyes  lights  the  wigwam? 

Ewa-yea!  Ewa-yea!  my  little  one! 

The  lullaby  is  given  in  two  keys;  as  the  lower  key  seemed  better  fitted  to  express  the 
Indian  quality.  The  melody  has  been  written  in  a  higher  key  in  case  the  first  is  thought 
too  low  for  children 's  voices. 


53 


LULLABY. 


Elizabeth  Rose  Fogg. 

Iiiiliaii. 


i 


Su-i7if}  in  q  rh  yth  m . 

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lights       tiie        wig    -    wain?    Willi        Iiis        great      eyes       lights      tlie       wig    -    wain'.' 

J{Utirdando. 


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CopyrlKht,  1914,  by  Thk  A.  S.  Haunks  ConrAHT. 


Olie  I 


54 


The  children  are  in  a  hne  all  facing  in  one  direction  and  they  play  that  their  shadows 
are  either  to  the  right  or  the  left  of  them. 

During  the  first  measure,  they  walk  slowly  four  steps  forward  watching  to  see  the 
shadows  move.  On  the  second  measure,  thej'  dash  forward  with  little  short  running  steps 
till  the  last  note,  then  they  turij  and  look  for  the  shadows  again.  On  the  third  measure 
the  movement  repeats.  During  the  fourth  and  fifth  measures,  they  all  turn  to  face  the 
shadows  and  try  to  step  on  them — four  very  emphatic  steps.  During  the  sixth  measure, 
they  turn  as  at  first,  stretch  to  make  themselves  very  tall  and  run  forward  very  fast. 
At  the  seventh  measure  they  make  themselves  as  small  as  possible  and  run  again.  During 
the  eighth  and  ninth  measures,  they  turn  and  trj^  to  jump  through  their  shadows  with 
four  long  jumps.  Beginning  with  the  tenth  measure  they  all  turn  around,  back  to 
shadows  and  walk  proudly  awaj',  without  one  look  behind. 

This  little  dance  goes  with  much  humor,  for  all  children  have  tried  these  things  over 
and  over,  and  their  enjoyment  in  teUing  the  story  is  full  of  the  mischief  that  anticipates 
the  end  of  it  all. 


A   SHADOW   DANCE. 


55 


AUegro.     Staccato. 


EiJZABETn  Hose  Fogg. 
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56 


THE  LAMBKINS  GAMBOL  ON  THE  GREEN  GRASS. 

The  children  ma}-  be  in  a  circle  or  they  may  be  in  several  groups  or  small  circles. 
Any  one  who  has  seen  little  lambs  skipping  about  with  their  stiff,  wobbly  legs  knows  how 
children  enjoy  the  humor  that  the  dance  expresses.  If  children  have  never  seen  lambs 
playing,  have  them  play  "stiff  in  the  joints"  and  the  dance  will  come  of  itself. 

During  the  first  measure  all  take  two  running  steps  and  leap  up  from  the  floor, 
landing  with  very  straight  legs.  Repeat  to  fifth  measure.  During  the  fifth,  sixth, 
seventh  and  eighth  measures,  all  take  three  short  running  steps,  then  one  little  leap,  one 
step  running  and  a  big  high  leap,  and  down  again  stiff  and  wobbly.  During  the  ninth 
to  fourteenth  measures,  all  run — run — run  and  leap  high  in  air.  Repeat  during  thirteenth 
to  eighteenth  measures.  During  measures  seventeenth  and  eighteenth,  all  leap  up  and 
turn  either  right  or  left  as  they  come  down.  Repeat  on  eigtheenth  and  nineteenth 
measures.  During  measures  twenty  to  twenty-four,  all  jump  directly  upward  three 
times  in  succession  coming  down  with  stiff  legs  as  before. 

The  humorous  quality  of  this  little  dance  will  be  greatly  enhanced  by  placing  the 
groups  rather  irregularly  about  on  the  floor. 


THE   LAMBKINS   GAMBOL  ON   THE   GREEN    GRASS. 

Count  1  in  a  measure.  Elizabeth  Rose  Fogg. 

Alleqro.     Well  accented. 


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58 


DANCE  OF  THE  MARIONETTES. 

One  is  in  the  center  with  tlie  others  grouped  around  him.  During  measiu-es  one  and 
two  all  in  the  circle  dance  forward,  hopping  twice  on  each  foot,  with  the  arms  bent  stiffly, 
and  with  the  free  foot  raised  forward  like  a  wooden  leg.  During  measures  three  and 
four  all  dance  backward,  either  in  the  same  manner,  as  above,  or  hopping  on  both  feet. 
During  measures  five  and  six,  they  all  dance  to  the  center  again  and  this  time  the  leader 
in  the  circle  takes  the  one  in  the  center  and  dances  him  back  with  them  all,  during  measures 
seven  and  eight.  Then  all  form  in  couples  with  arms  very  stiffly  joined  at  elbows  (this  is 
done  b\'  crossing  the  forearms).  And  all  dance  around  the  circle  with  the  same  step  as  at 
first  during  measures  eight  to  eighteen.  During  measures  seventeenth  to  twenty-two, 
all  face  partners,  join  right  arms  and  dance  around  each  other  with  a  step  and  hop  on 
one  foot  while  the  free  foot  is  swinging  forward  stiffly.  On  the  twenty-first  measure 
change  arms  and  dance  left  around  partner.  At  the  last  measure,  all  face  center  and 
jump  high  as  possible. 


59 


A   DANCE   OF  THE    MARIONETTES. 
AUerjro.  Staccato.    Well  marlced.     Count  two  in  a  7neasure.  Elizabeth  Rose  Fogg. 


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61 


THE  LITTLE  RABBITvS. 

Characters: 
The  Fox 

The  Little  Rabbits 
The  fox  is  sitting  watching  the  rabbits  who  are  huddled  together  on  one  side  of  the 
circle.     During  the  measures  one  and  two,  the  fox  stands  and  sends  the  rabbits  to  do  his 
bidding. 


o°o°  RABBITS 


During  measures  two  and  four,  the  rabbits  \n>[)  across  to  get  sugar  cane.  During 
measures  five  and  six,  they  are  attempting  to  break  it  with  great  effort.  During  measure 
seven  they  all  stop  and  listen.  During  measures  eight  and  nine,  played  the  first  time, 
they  gnaw  with  great  gusto,  and  hop  back  home  on  the  repetition  of  the  music. 

There  is  a  pause — the  fox  is  thinking  what  next  to  do  and  the  rabbits  are  watching 
him.  During  measures  ten  and  eleven,  the  fox  sends  them  out  again.  The  rabbits  hop 
away  during  measures  twelve  and  thirteen.  During  fourteen  they  lift  the  sieves  high, 
and  repeat  during  fifteen.  They  all  stop  and  listen  to  the  bird  singing  during  the  sixteenth 
measure.  Thov  lift  the  sieves  high  again  during  the  seventeenth,  and  all  hoj)  back 
lidine  during  the  eighteenth  and  nineteenth  measures,  carrj'ing  the  water  carefully  in 
their  sieves. 

There  is  another  pause  like  the  first.  The  fox  then  angrily  sends  them  out  again 
during  the  twentieth  and  twenty-first  measures.  During  the  twenty-second  and  third 
measures,  the  rabbits  hop  out  again.  During  the  twenty-fourth,  fifth  and  sixth,  they 
pull  and  haul  in  all  directions,  then  stop  and  listen  for  the  little  bird  to  sing.  During  the 
twenty-seventh,  eighth  and  ninth,  they  all  push  the  log  home  together,  turn  and  look  at 
tlie  fox  who,  as  he  watches  them  coming,  gets  ready  to  go,  and  during  the  thirteenth 
measure  he  sneaks  out.  Then  during  tlic  last  five  measures  they  hoj)  about  the  circle 
with  great  glee. 

This  dance  can  well  begin  with  the  log-rolling  epi-sode  when  it  is  too  difficult  for  the 
cliildnMi  to  carry  so  many  incidents  in  mind.  In  that  ca.-^e  the  nuisic  begins  at  measure 
twenty.     The  dance  should  never  be  attenijited  before  the  children  know  the  story. 


62 


Part  I. 

Very  heavi/.  Sloirli/. 

1 


THE    LITTLE   RABBITS. 

Elizabeth  Rose  Fogg. 
Lightly.  Entrance  of  liahhits. 


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65 


THE  LOBSTER  QUADRILLE. 

Part  I. 

The  children  form  in  two  hncs.  During  measures  one  and  two,  the  two  lines  walk 
to  the  center;  and  walk  backward  to  place  during  measures  three  and  four.  During 
measures  five  and  six  they  cross  to  the  opposite  side,  passing  right  as  they  meet  and 
turning  to  face  the  center  at  the  end  of  the  sixth  measure.  During  measure  seven  they 
walk  to  the  center,  pass  each  other  in  the  lines  and  on  the  eighth  measure  turn  toward 
center  and  make  a  mock  courtesy.  During  measures  nine  and  ten  they  join  right  elbows 
with  the  one  in  the  line  opposite  and  skip  about  each  other;  then  change  arms  at  measure 
eleven  and  skip  about  to  the  end  of  the  twelfth  measure. 

PART  II. 
Both  lines  now  turn  and  face  in  Ihe  same  direction  as  illustrated; 

2     X     X     X     X     X     X     X 
1     0     0     0     0     0     0     0 

i 

During  measures  thirteen  to  seventeen,  line  number  two  pursues  with  a  fast  walk 
line  number  one  and  all  finish  willi  a  big  jump  at  the  end  of  the  sixteenth  measure. 
During  the  seventeenth  and  eighteenth  measures  all  turn  about  and  walk  slowly  to  jilace. 
During  measures  nineteen  and  twenty,  they  courtesy  slowlj'  and  mockingly  toward  the 
opposite  line,  and  during  measuies  twenty-one  and  twenty-two,  turn  slowly  around  away 
from  the  partners  oi)i)osite,  shaking  their  heads  as  they  refuse  to  dance  with  them. 

PART  III. 

During  the  twenty-third  and  fointh  measures,  line  nunilx'r  two  walks  across  to  line 
number  one.  During  measures  twenty-five  and  six,  they  all  bow.  During  the  next 
measures  till  the  thirty-second  they  all  face  to  go  around  in  a  circle  and  jiromenade, 
skipping  grotesquely.  During  the  thirty-second  and  tliirt y-tliinl  measures,  they  face 
partners,  join  right  elbows  and  skip  around  each  other,  and  during  the  thirty-fourth  and 
thirty-fifth  measures  they  join  left  elbows  and  skip  about  in  the  opposite  direction. 

The  directions  given  are  the  simplest  pos.sible.  If  the  teacher  will  read  the  poem 
with  the  thought  of  (he  humorous  pantomime  suggestid  in  it,  she  will  see  how  to  get  the 
children  playing  the  game  with  a  very  great  amount  of  amusement  and  delight.  Such 
a  dance  will  develop  spontaneously  if  the  childnMi  have  done  any  constructive  work  in 
their  dancing. 


66 


THE    LOBSTER    QUADRILLE. 


Part  I. 
Moderato.       1 


Elizabeth  Rose  Fogg. 


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Characters: 
The  Shoemaker 
The  Shoemaker  's  Wife 
The  Customers 
The  Elves 

The  shoemaker  is  busy  over  his  shoes  at  the  end  of  the  day.  He  is  very  tired  and 
discouraged.  INIeasures  one  to  five.  At  the  beginning  of  the  fifth  measure,  he  puts  by 
his  work  and  slowly  goes  home.  INIeasures  five  to  nine.  During  measures  nine  to  si.xteen 
he  comes  back  to  his  work  the  following  morning,  still  feeling  verj'  discouraged.  Suddenly 
he  sees  shoes  before  him  all  made  and  placed  ready  to  sell.  Pleasures  seventeen  and 
eighteen.  During  the  repeat  of  these  two  measures  he  starts  off  to  get  his  wife  to  show 
her  the  strange  thing  that  has  hai)pened.  During  measures  nineteen  to  twenty-three, 
he  brings  in  the  wife  and  they  talk  wildly  over  it  all.  But  before  they  have  time  to  look 
around  they  see  two  customers  entering  the  store.  jMeasures  twentj'-three  to  twenty- 
seven.  During  measures  twenty-seven  to  thirtj'-five,  the  customers  are  bargaining  for 
shoes  and  finally  buj'.  They  go  out  on  measures  thirtj'-five  to  thirty-nine.  During 
measures  thirty-nine  and  forty  the  shoemaker  and  his  wife  get  more  leather  and  leave  it 
ready  to  use.  Then  thej''  hide  to  see  what  will  happen.  Measures  forty-one,  two,  three 
and  four.  During  the  measures  forty-five,  si.x,  seven  and  eight,  the  elves  come  running 
in,  they  scamper  about  and  watch  to  see  if  anybodj^  is  in  sight.  Then  they  see  the  leather 
all  ready  cut  and  run  to  it.  During  the  measures  forty-nine  to  fifty-three,  they  sit  down 
in  front  of  the  leather,  ])ick  it  up  and  wag  their  heads  about  it,  then  decide  that  they  will 
make  the  shoes.  During  the  measure  fifty-three,  they  wind  the  threaii  over  right,  on 
fifty-four  over  left,  on  fifty-five,  they  pull  the  thread,  and  on  fifty-si.x,  they  pound  the 
shoes  three  times.  These  movements  are  repeated  twice.  Pleasures  forty-nine  to  fifty- 
three  are  played  again  as  they  put  the  shoes  down,  pat  them  here  and  there,  then  jump  up 
and  clap  their  hands.  During  measures  fifty-seven  to  sixty-one,  they  dance,  galloping 
around  the  circl(>  antl  (juite  forget  the  danger.  But  suddenly  they  are  on  guard  again 
and  run  away  looking  backward  and  hiding  as  fast  as  they  can. 

The  shoemaker  and  his  wife  now  enter.  Measures  sixty-five,  six,  .seven,  eigiit. 
They  are  much  anuised  at  what  they  have  decided  to  do.  They  get  cloth  and  go  to  mak- 
ing clothes  for  the  elves.  ]\I(asun<s  sixty-nine  to  seven tj--seven.  During  measures 
seventy-seven  and  eight  they  run  and  hide  again  and  watch  to  sec  what  will  happen. 
Pleasures  seventy-nine  to  eightj'-three. 


70 


The  elves  enter  again,  dancing  about,  without  being  so  cautious.  Measures  eighty- 
three  and  four.  Then  they  are  surprised  and  stop  to  look  at  what  has  happened.  Measure 
cightj'-five.  Quick  as  ever  they  can  they  jump  into  the  clothes  they  find.  Measures 
eighty-six  to  ninety.  During  measures  ninety  to  ninety-seven,  thej^  dance  about  in  great 
glee  looking  at  themselves  and  at  each  other.  In  the  meanwhile 
the  shoemaker  and  his  wife  have  become  so  curious  that  they  have 
stepped  out  in  sight  at  measure  ninety-six.  The  elves  all  dance 
away  and  disappear.     INIeasures  ninety-seven  to  the  end. 

The  two  dances  of  the  elves  are  the  parts  of  this  drama  to  teach 
first.  They  may  be  taught  to  children  who  are  too  small  to  carry 
the  whole  plot  in  mind.  The  small  drama  is  an  experiment.  The 
music  is  arranged  from  old  folk-melodies  and  it  is  worth  trying 
to  see  how  many  children  can  carry  a  story  in  mind  before  thej'- 
can  get  the  words  to  tell  it.  But  as  soon  as  children  wish  to  use 
dialogue,  it  is  always  better  to  use  it  instead  of  pantomime. 


THE  SHOEMAKER  AND  THE  ELVES. 


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rrReTBrownienga: 


tne  Chemv  Tree 


Characters: 
The  Gardener 
The  Brownie 
The  Children 

All  the  characters  are  standing  at  the  side.  During  the  first  two  measures  the 
gardener  comes  in  with  the  children  following  and  all  trying  to  be  very  good.  The 
gardener  turns  and  goes  out  during  measure  three.  During  measures  four,  five,  six  and 
seven,  the  l^rownie  comes  running  in  and  scampers  about,  the  children  watching  him  as  he 
laughs  and  dances.  He  runs  up  a  tree  and  disajipears  during  measures  eiglit  and  nine. 
The  children  begin  picking  up  cherries  and  filling  baskets,  dodging  and  laughing  as  they 
dj  it.  iMeasures  ten,  eleven,  twelve.  During  the  thirteenth  nu>asvn-e.  they  stop  and 
look  at  the  brownie  who  stands  laughing  in  their  midst.  He  runs  in  front  of  them, 
dances  around  the  center  and  they  all  follow  in  great  glee  during  measures  fourteen, 
fifteen,  sixteen  and  seventeen.  Then  they  stop  vcMy  suddenly-  and  are  frightened  for 
they  hear  the  gardener  coming.  The  brownie  runs  away  and  the  gardener  enters  during 
measure  nineteen.  They  all  sit  down  very  (luickly  and  hold  tluir  cherries  up  to  him,  look- 
ing very,  very  good. 

This  dance  depends  upon  th(>  good  acting  of  tlu>  chilil  who  i)lays  the  brownie.  Chil- 
dren play  it  all  with  great  spontaneity  for  the  situation  represents  a  common  experience. 


76 


THE  BROWNIE  AND  THE  CHERRY  TREE. 

Elizabeth  Rose  Fogg. 
Slowli/  and  sweetli/.     En(.  of  children  and  f/ardciifr. 
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